Painting Dogs - Easier Than It Seems

"Diesel"

A watercolor painting by Karen A. Cooke

Following along with painting animals from last week, this week's post discusses how to paint a bulldog.  I am not a "detail" painter and prefer a more Impressionist style of painting, the bulldog painting, conveys the dog's personality without detail - not even detailed fur.    However, you can add as much or as little detail in your painting as you like and that fits your style of painting. 

Below, I have again included some tips on painting fur from last week's blog post:

1. Most animals will have different types of fur in their coat - short smooth, long wispy  and thick/clumpy fur.
2. Animal fur is thick and will require layers of color and or detail.
3. When working with watercolor it is important to paint the lightest color fur first and build up the darker layers.   The light base color is painted first with brush stokes placed on top. 
4. Vary your brush stoke to keep the fur from looking uniform.  Animal fur is usually a little bit "scruffy" and unkempt looking. 
5. Also, be certain to leave some white unpainted areas for highlights. 

The watercolor above was painted on Arches 140 lb. cold press paper.

Supplies Needed:

Watercolor paper (size of your choice)

Masking Tape

Watercolor board

Brushes: round, liner and flat or fan

Spray Bottle of water

Paint: 

• Sepia
• Black
• Payne's Gray
• Crimson
• Burnt Sienna
• Burnt Umber
• Mars Black

Note:  The colors above are the ones I used to paint the dog above.  Your paint colors will vary based on the color of the animal you are painting. 

Painting Instructions:
Sketch the basic shape of the dog with the most detail and attention given to the eyes, nose and mouth.  The detail of the body will be shaped by the color of the fur to define and shape.  

Body
I painted wet on wet by first wetting with clean water sections of the dog's body that I wanted to paint.  I left a dry, white area in places where I did not want the color to blend.  This white area will help define the shape of the dog rather than having one large painted area.  This gives shape without having to define it with color.  In the case of this bulldog, it also indicates areas of wrinkled skin.  Blend your colors allowing some of the painted areas to be lighter than others. 

Ears:
The ears are painted in the same manner as the body per the instructions above.  Vary the intensity of the paint leaving some areas white.  Refer to photo above.

Eyes:
Paint the eyes.  In this case the dog's eyes are brown.  Use a wash and paint the outer section of the eye with this color and allow to dry.  Paint the pupil last leaving a small white dot of white paper unpainted.  Allow to dry.  Using a liner brush or a watercolor pencil (see tip below) outline the eye.  Allow to dry. 

TIP:  Watercolor pencils can be used to help outline and define the eyes.  This is especially helpful if you feel uncomfortable or unsteady using a fine liner brush for details.  Steady hands come with practice and becoming comfortable with painting.  However, remember - it is only paper!

Nose, mouth and muzzle area:

Using a pale wash of Crimson, paint in the lower muzzle leaving some areas lighter fading into white unpainted paper and drop in some Payne's Gray.  Allow to dry.  Using a pale wash of Payne's Gray to add shading and color in in the nose and lower muzzle.  Refer to photo above.  Add dots of color using the tip of a round brush for the part of the muzzle where the whiskers are growing.  Allow to dry.  The nose is painted with Payne's Gray leaving some areas white and using black to deepen some of the areas. 

Details:

Using the liner brush and black, brunt umber and burnt sienna, paint in a few details to indicate lines, claws, etc.  Refer to painting.  Don't let this become too involved. 

Foreground:
Using Crimson and Payne's Gray in a very light wash, add a shadow in the foreground to help "ground" the dog in place rather than leaving him "floating." 

Check for any other details you would like to add.  When you are satisfied,  sign you painting!

Congratulations! 

Happy Painting!
Karen

How to Paint Cat Fur

"Prince"

5" x 7" watercolor painting of my cousin's cat

Karen A. Cooke

Different types of animal fur require different types of techniques and different brushes.  What method used depends on the animal and the final result you desire.    The following are some things to remember about fur:

1. Most animals will have different types of fur in their coat - short smooth, long wispy  and thick/clumpy fur.
2. Animal fur is thick and will require layers of color and or detail.
3. When working with watercolor it is important to paint the lightest color fur first and build up the darker layers.   The light base color is painted first with brush stokes placed on top. 
4. Vary your brush stoke to keep the fur from looking uniform.  Animal fur is usually a little bit "scruffy" and unkempt looking. 
5. Also, be certain to leave some white unpainted areas for highlights. 

Now. let's paint!

The watercolor above was painted on Arches 140 lb. cold press paper.

Supplies Needed:

Watercolor paper (size of your choice)

Masking Tape

Watercolor board

Brushes: round, liner and flat or fan

Spray Bottle of water

Paint:

• Ultramarine Blue
• Sepia
• Black
• Payne's Gray
• Crimson
• Burnt Sienna
• Burnt Umber
• Yellow Ocher
• Hooker Green

Note:  The colors above are the ones I used to paint the fur on the cat above.  Your paint colors will vary based on the color of the animal you are painting. 

Painting Instructions:
Sketch the basic shape of the cat with the most detail and attention given to the eyes.  The detail of the cat's head will be shaped by the color of the fur to define and shape.  

Basic head shape:
Use the lightest wash of yellow ocher and a round brush to define the outline of the cat head and fur.  Remember to leave some areas white for highlights.  While this paint is still wet, pick up some of the deeper colors (burnt sienna, etc.) and place in various locations to indicate the changes in color of the fur.  Leave the area around the nose and mouth as well as around the eyes white.  This will be shaded in later. 

Ears:
The ears are painted using a pale wash of crimson.  This paint will blend with the color of the fur surrounding the ear.  Vary the intensity of the paint leaving some areas white.  Refer to photo above.

Eyes:
Paint the eyes.  In this case the cat's eyes are a gold green.  Use a wash and paint the outer section of the eye with this color and allow to dry.  Paint the pupil last leaving a small white triangle of white paper unpainted.  Allow to dry.  Using a liner brush or a watercolor pencil (see tip below) outline the eye.  Allow to dry. 

TIP:  Watercolor pencils can be used to help outline and define the eyes.  This is especially helpful if you feel uncomfortable or unsteady using a fine liner brush for details.  Steady hands come with practice and becoming comfortable with painting.  However, remember - it is only paper!

Nose, mouth and muzzle area:

Using a pale wash of Crimson, paint in the nose and mouth leaving some areas lighter fading into white unpainted paper.  Allow to dry.  Using a pale wash of Payne's Gray to add shading and color in in the nose and lower muzzle.  Refer to photo above.  Add dots of color using the tip of a round brush for the part of the muzzle where the whiskers are growing.  Allow to dry.

Details:

Using the liner brush and black, brunt umber and burnt sienna, paint in a few individual pieces of the fur.  Don't let this become too involved, just the illusion is all that you will need. 

Whiskers:

The whiskers of the cat can be done in two different ways:

1. Using a utility knife, scratch in the whisker, or
2. Using a liner brush and white paint, paint in the whiskers. 

This is your preference.  In the photo above, I used a liner brush and white paint since this would show up better on this color fur.  Darker fur would make the scratch method more useful in that the scratch would be more easier seen.

Now, track down a pet or pull up a photo on line and get started painting!


Happy Painting!
Karen

Magic Tea - Blending Watercolors

Magic Properties of Tea

Watercolor Painting - 5" x 7"

by Karen A. Cooke

I received several blends of tea this Christmas and while waiting for a cup to brew, I watched the swirls of steam rising from the tea.    This made me think of how the swirls of steam were moving and how this might be accomplished in a watercolor.  Teas are blended to create pleasing tastes and aromas, so I wanted to play around with color to accomplish a similar result in my painting. 

The magic of watercolor painting is how the paint can be blended to create pleasing and unique designs.  This painting will illustrate how to accomplish the magic of watercolor blending in a simple painting of a cup of tea and it's "magic" steam. 

Now, let's paint!

The watercolor above was painted on Arches 140 lb. cold press paper.

Supplies Needed:

Watercolor paper (size of your choice)

Masking Tape

Watercolor board

Salt (table salt and/or larger grain sea salt)

Brushes: flat and round (size of your choice based on the size of your paper)
Spray Bottle of water

Paint:

• Cerulean Blue
• Ultramarine Blue
• Sepia
• Payne's Gray
• Crimson

Painting Instructions:
This a very simple drawing of a teacup and saucer.  Do not draw in the steam rising from the cup.  The paint will take care of this. 

Cup and Saucer:
Wet the cup with clean water and using a blend of Payne's Gray and Sepia, drop in color to indicate shadows.  The cup is actually white, but you are simply painting the shadows.    I used a round brush to paint these shadows and used it to line the outside of the cup to separate the cup from the background.   Make this line very faint and light.  Allow to dry.  Be certain to allow the cup to dry before painting where the cup touches the saucer so that both appear as distinct items.  If the paint is wet, the colors will blend and the cup and saucer will appear as one piece rather than two distinct pieces. 

Tea:
Using a blend of Payne's Gray, Ultramarine and Crimson, paint the tea in the cup using a wet in wet method.  Start with the Ultramarine and Crimson in the center of the cup and add the Payne's Gray on the edges.  Allow the colors to blend and swirl together.  While the paint is still wet, drop in some salt crystals to push the paint around and create an interesting texture.    Allow to dry and brush off the salt crystals. 

This is one of the "magical"  qualities of watercolor painting:  each crystal of salt chases away the pigment to make a lighter area beneath it. 

TIP:  Salt does not always work the way expected.  It involves the paint pigment at the correct wetness as well as the speed that the paper and air dry.  However, the best results usually occur when the paint is damp and shiny.  If the paint is too dry, the technique won't work.  Conversely, if the paper has puddles of water, it will be too wet for it to work.    Practice this on a scrap piece of paper to determine the right ratio of paint and water.    This technique can be used for snowflakes, small flowers, etc. 

Magic Steam:
Wet the area of the painting above the teacup in a pattern to indicate the swirling mist of steam rising from the hot cup of tea.  Drop in Payne's Gray, Crimson and Ultramarine Blue.  Refer to the painting above for location.  The Crimson and Ultramarine will blend on the paper to create a purple.  However, you may want to blend these two colors on your palette as well to apply to the painting. 
While the paint is still wet, mist the outside edges of the paint with the spray bottle and add the salt crystals to the swirls of paint.  Allow to dry and brush off the salt crystals. 

Congratulations!  You have learned one of the "magical" qualities of watercolor painting! 

Happy Painting!
Karen

Mabry Mill on the Blue Ridge Parkway - How to Paint old Buildings

 

Mabry Mill on the Blue Ridge Parkway

Watercolor painting by Karen A. Cooke

 

I have always enjoyed painting old building such as the mill above as well as cabins, old doors and windows, etc. This painting was done from a photo taken on a recent trip down the Blue Ridge Parkway in Virginia in early fall of this year. Before we start painting, below is just a little background information on the Blue Ridge Parkway and the mill above.

 

The Blue Ridge Parkway is a National Parkway and an All-American Road which is the longest linear park in the United States running for 469 miles through Virginia and North Carolina. It runs through the Appalachian Mountains from its northern terminus in Virginia at the Shenandoah National Park south through Virginia and North Carolina to its southern terminus at the Great Smoky Mountains National Park in North Carolina. Mabry Mill is a watermill located at milepost 176 of the Blue Ridge Parkway approximately 70 miles southeast of Richmond, VA. It was built in 1903 by Edwin Mabry. The mill was first a blacksmith and wheelwright shop, then a sawmill and finally a gristmill. The mill is considered to be the most photographed structure in the United States. 

 

Now, let's paint!

 

 

The watercolor above was painted on Arches 140 lb. cold press paper. 

 

Supplies Needed:

Watercolor paper (size of your choice)

Masking Tape

Watercolor board

Brushes: flat and round (size of your choice based on the size of your paper)

Paint:

• Cerulean Blue
• Yellow ocher
• Sap Green
• Ultramarine Blue
• Sepia
• Burnt Umber
• Burnt Sienna
• Payne's Gray
• Van Dyke Brown

 

 

 

Painting Instructions:
I sketched this drawing on my watercolor paper. However, if you feel you may need to erase multiple times, you may want to drawn on a piece of sketch paper and transfer your completed sketch to the watercolor paper. I discuss how this can be accomplished in my blog of May 11, 2016.

As a reminder: Multiple erasures can damage watercolor paper and cause pooling of water as well as differences in the way the paint is absorbed into or on the paper. Deep sketch marks will show up in a finished painting, even if they are erased. Correct perspective is an important part of this painting. Confirm that you like the perspective that you have executed in your sketch before you start painting. A poorly executed sketch done in a hurry cannot be overcome no matter how great a job one does with the paint.

Let's Paint!

Sky and Background Foliage:
Wet the sky from the top down to where the sky meets the buildings and the horizon using clean water. Using a wash of Cerulean Blue, apply the paint working from the top of the painting down to the horizon allowing the intensity of the color to become lighter.

While the sky is still wet, drop in a small amounts of Sap Green, Burnt Sienna and Yellow to paint in the shapes of the trees. This was early fall so there were hints of color change in the background trees. Allow to dry. Using a liner brush add in some tree trunks and branches in various locations. Refer to finished painting above. 

 

 

How to Paint Old Wood:
Wet the wood area with clean water and apply a place wash of yellow ochre, Payne's gray, and sepia. Drop in the colors in various locations. Some areas can even remain without color. Since the area was wet before the paint was applied, the color will run and blend.

Let this dry. Using a flat brush with the bristles fanned out slight, dry brush in wavy grain lines with a wash of Sepia and Payne's gray.

Let this dry and use a fine liner brush and draw in a few lines to further indicate the wood grain.
Don't forget to deepen the color in the shadows under the roof line.

 

Mill:
Paint the mill siding and roof as above in the "How to Paint Old Wood" section. After the initial wash drives, add a few lines to indicate shingles. Do not paint each individual shingles/siding. Allow to dry.

Mill Run:
Using Payne's Gray, Sepia and Burnt Umber paint the mill run using various intensities of paint.
Refer to the photo above for the deeper areas. Use a clean brush to remove the paint for the posts. I originally thought I would mask out the posts with masking fluid, but decided that I preferred the indistinct quality of the posts. Allow to dry.

Mill Wheel:
Use a clean dry brush and painting wet on dry, paint the wheel with Burnt Umber. Add Payne's Gray for the water paddles and between the spokes of the wheel. Keep these lines fairly straight, but do not go completely top to bottom, leave a few gaps. Allow to dry. Using a utility knife and referencing the finished painting above, scrape in the water cascading down the paddles to the pond below.

Mill Pond:
Using a wash of Ultramarine Blue and Cerulean Blue Refer to the painting above. Painting wet on wet, drop in paint for the reflections from the mill, stone wall and grasses on the bank using the same colors. Let the colors mingle for the reflections. Use a deeper shade of blue at the base of the water wheel. Allow to dry. Use the utility knife to scrape in some water splotches at the bottom of the water wheel to show reflected lift from the water as it enters the pond.

Foreground Grasses and Foliage by the Mill Run:
Using Sap Green, Yellow Ochre, Burnt Umber and Ultramarine, paint wet on wet. Refer to painting above for colors and placement. Allow to dry.

Finishing touches:
Using a mix of Payne's Gray and Burnt Umber, add the split rail fence on the left side background. 
Using Sap Green deepened with Ultramarine, add some taller grasses near the edge of the pond.
Using a sponge and various shades of green mixed from Sap Green, Yellow Ochre and Ultramarine, add the foliage on the building.

Look over your painting and paint any finishing details you would like to add. Then, sign your painting!

Congratulations!

Happy Painting!
Karen